常磐津 山姥

すべての女性は、心のどこかで山姥にあこがれるのではないでしょうか?

山を廻って天地山水と一体となり、人から疎まれつつも、かわいい金太郎を背負って、大人物に育て上げる・・・

作品としては、世阿弥による能の「山姥」(やまうば)が中世に完成し、近松門左衛門が、同じ題材を用いて、1712年に浄瑠璃「嫗山姥」(こもちやまうば)を創作しました。

常磐津「山姥」、実は正派若柳流では、師範試験の選択曲の一つです。

「妄執の雲の、塵(ちり)積って、山姥となれり、山又山に山巡りして、行方も知れずなりにけり」(常磐津「山姥」より歌詞抜粋)

IMG_20180114_082102_141

(写真は今朝の雪景色)

今年の十月に、わたしはこの師範試験を受けさせていただく予定です。

邪正一如の山姥の境地にたどりつくことができるとは思いませんが、与えていただいた機会に感謝して、一生懸命舞わせていただきたいと思います。

〔歌詞〕

よしあし曵きの山廻り 四季の詠めも色々に
浮き立つ空の弥生山 桃が笑えば桜がひぞる
柳は風のおうように

誰を待つやら小手招く 霞の帯の辛気らし
締めて手と手の盆踊り

ななこの池に移り気の うらみ過ごしの梶の葉は

露の玉章落ち初めて 焦れて濡らす露の袖の梅
ついだまされて室咲の 梅の暦もいち早く

門に松たちゃナンナつい雛も 出るかと思えば沓手鳥
菖蒲ふく間に盆の月 待つ宵過ぎて菊の宴
はや祝い月里神楽 ほんに ほんにせわしき浮き世も我も
白雪積もる山廻り 山廻り
いとま申して帰る山の 峰も梢も白砂は
源氏の栄え尽きしなき まもる神がきは妄執の雲の
塵積もって山姥となれり 山又山に山廻りして
行方も知れずなりにけり

 

[English Translation]

I wonder if all the women, in their heart, somehow adore YAMANBA, or a Mountain Woman, a prototype of a lady who lives in the mountains.

She runs freely over the mountains and rivers, and brings up a baby called Kintaro, a legendary hero in the Japanese folktales.

An accomplished playwright and a noh actor Zeami created a noh play about Yamanba in the 15th century.

Then Chikamatsu-monzaemon, a playwright, brought up the same theme and created his adaptation for the puppet and kabuki plays in the 18th century.

In my school of Japanese Traditional Dance, SEIHA-WAKAYAGI, this Yamanba is one of the pieces that we choose as to take the examination to be a master teacher.

“Dusts of clouds of karmic emotions of people accumulated and formed Yamanba. She danced, told a story, went off towards the mountains and disappeared far and away.” (extract from the Tokiwadu version of Yamanba)

This October, I will take the examination for this master teacher.

I do not think that I can achieve the level of Yamanba herself, who transcended the worldly matters as the scripts say that “seeing Good and Evil as One.”

However, I am truly grateful for the opportunity and will do my best.

 

 

 

Advertisements

地歌舞 雪

少し先ですが、12月の「縁の会」の稽古がはじまりました。演目は、「地唄 雪」。

IMG_20170730_102700_115

「花も雪も 払えば清き袂かな ほんに昔の昔のことよ 我待つ人も吾を待ちけん 鴛鴦(おし)の雄鳥(おどり)に物思ひ羽の 凍る衾(ふすま)に鳴く音もさぞな さなきだに 心も遠き夜半の鐘 聞くも淋しき独り寝の 枕に響くあられの音も もしやといっそせきかねて 落つる涙の氷柱より 辛き命は惜しからねども 恋しき人は罪ふかく 思はぬことの悲しさに 捨てた憂き 捨てた浮世の山かづら」

 

藤原定家に、「見渡せば 花も紅葉もなかりけり 浦の苫屋の秋の夕暮れ」という歌がありますが、なんとなく、それを思い起こさせる名曲です。花も雪も、浮世のこと、といなして、打ち払って、みずからは山間に消えて行ってしまうような。

 

最後の「山かづら」は、もともとは山野に生える蔓性の植物ですが、そこから、夜明けごろに山の端にかかる雲をさすようになりました。ここでは、その意味で、冒頭の花、雪と響き合います。

 

この作品の持つ雰囲気を大切に、舞わせていただけたらと思っています。

 

DSC_0082

 

Crane and Turtle 鶴亀

 

DSC_0140

Crane and Turkey by Kokei Kobayashi

 

日本舞踊には、能からとられた曲が多いのですが、この鶴亀も、その一つです。

時は八世紀、中国は玄宗皇帝の御世です。四季の節会の最初の儀式に、皇帝は月宮殿におでましになり、長寿の象徴である鶴と亀に舞を舞わせられます。そののち、皇帝も自ら舞を舞い、宮殿に還御されます。

おめでたい雰囲気が特徴で、そのため、結婚式など慶事に踊られます。

歌詞 抜粋:

それ青陽の春になれば 四季の節会の事始め
不老門にて日月の 光を君の叡覧にて
百官卿相袖を連ぬ その数一億百余人 拝をすすむる 万戸の声    一同に 拝するその音は 天に響きておびただし

千代のためしの数々に 何をひかまし姫小松
齢に比ふ丹頂の 鶴も羽袖をたをやかに
千代をかさねて舞遊ぶ みぎりにしげる呉竹の    みどりの亀の 幾万代も池水に 棲めるも安き君が代を    仰ぎ奏でて鶴と亀 齢を授け奉れば 君も御感の余りにや 舞楽を奏して舞ひたまふ

山河草木国土豊かに   千代万代と舞ひたまへば 官人駕輿丁(かよちょう)御輿を早め
君の齢も長生殿に 君の齢も長生殿に 還御なるこそめでたけれ

As Nihon Buyo or Japanese traditional dance developed through Noh drama, there are pieces that came directly from Noh. I would like to introduce Tsurukame, or “Crane and Turtle,” one of the pieces based on Noh, which describes a scene from a New Year’s celebration held in the Tang Dynasty in China.

Because of its celebratory feeling, this dance is often used at marriages.

Lyrics is as follows (excerpt):

As it is spring at the beginning of four seasons, our emperor honors the light of sun and moon at the gate of eternal youth.

Hundreds of officials and a million of people gather to greet the emperor. Their voices resound in the heaven and earth.

For the example of lives of thousand’s years, what can we take except our princess pine tree?

A crane is spreading her wings and dance her thousands years. A turtle nearby bamboo trees at the bank of a pond is having peace for ten thousand years of our emperor’s reign. Our emperor is inspired of their dances and himself stands and dances.

Court people also dance and our emperor dances so that mountains, rivers, grass and trees are all prosperous as all the lives of our land is prosperous and thrive thousands and ten thousands.

Then officials and palanquin bearer prepares emeperor’s carriage and our emperor goes back to his castle of longevity.

Hagi Kikyo  萩桔梗

DSC_0557

今日、ご紹介させていただきたい歌は、季節柄、端歌「萩桔梗」です。

萩は、秋に赤紫の花房をつける、落葉低木。

桔梗は、秋に青紫の星型の花をつける草本植物。

この歌に、萩桔梗の花束を贈る中に、お手紙を忍ばせるシーンがあるんです。

夜毎にすだく松虫に、自らの恋心を重ね合わせる、秋らしい一曲です。

歌詞:

萩桔梗 中に玉章忍ばせて 月の野末に 草の露

君を松虫 夜毎にすだく 更けゆく鐘に雁の声

恋はこうしたものかいな

 

DSC_0138

Beauty in an Autumn Night by Harukusa Hishida

 

There are a thousand pieces in Japanese traditional songs but I would like to introduce one piece tonight, it is called Hagi Kikyo, as this is seasonal now.

Hagi or Japanese bush flowers blossom in autumn and it has little reddish purple flowers.

Kikyo or Japanese bellflower also blossoms in autumn and its colors are bluish purple.

The song includes a scene where a lady send a letter hidden in a Kikyo flower.

The lyrics is as follows:

Hagi Kikyo

Hid a letter in flowers for my beloved.

At the far sight there is a moon;

here there are dew drops on leaves. 

Those crickets gathering to call out every night is like myself, waiting for you every night.

The evening passes as the bell of the gong resounds, while the cry of wild geese is heard.

Why or how, love is like this, I do not know…    

 

Kane ga Misaki, or Cape of the Bell 鐘ケ岬

 

DSC_0137
Kiyohime by Kokei Kobayashi

 

 

今日、ご紹介させていただくのは、「鐘が岬」。あの有名な「道成寺」に題材を取った地歌舞です。

能の「道成寺」があまりに成功したため、この作品を元にして、歌舞伎の「娘道成寺」、浄瑠璃「道成寺」、そして琉球組踊の「執心鐘入」などが作られました。

「鐘が岬」は、歌舞伎役者の初世中村富十郎が、1753年江戸中村座で「京鹿子娘道成寺」を演じて当たりを取った後、大阪へ帰って1759年に「九州釣鐘岬」の大切(おおぎり)に再演したものが、そのまま舞踊の地が地歌に残ったものとされています。

そのベースとなったのは、安珍・清姫伝説。奥州白川より熊野に参詣に来た僧、安珍に執心した、安珍が宿を借りた真砂の庄司清次の娘、清姫が、裏切られた激怒のあまり蛇に変化し、道成寺で鐘ごと安珍を焼き殺すという内容です。

能の「道成寺」は、その後日譚で、道成寺の鐘供養に現われた白拍子が、舞を舞い歌を歌い、隙を見て梵鐘の中に飛び込みますが、祈祷によって持ちあがった鐘から現れ出たのは蛇の姿でした。僧侶の必死の祈りに川に入水します。

地歌舞「鐘が岬」では、道成寺の物語に託して、廓づくしと恋心が舞い上げられます。

この十月、大原は実光院にて開催させていただく「月と舞と琴と歌」にて、私はこの鐘ケ岬を舞わせていただく予定です。

清姫に身を重ねつつ、女性の情念とともに、そこからの解脱を志す強い思いをも、舞わせていただけたらと思います。

歌詞:

鐘に怨みは数々ござる 初夜の鐘をつく時は 諸行無常とひびくなり 後夜の鐘をつく時は 是生滅法とひびくなり 晨朝の響きには生滅々為 入相は寂滅為楽とひびけども 聞いて驚く人も無し われは五障の雲晴れて 真如の月を眺め明かさん

言はず語らず我が心 乱れし髪の乱るるも つれないは只移り気な どうでも男は悪性な 桜々とうたはれて 言うて袂のわけ二つ 勤めさへただうかうかと どうでも女子は悪性な 吾妻そだちは蓮葉なものじゃえ

恋のわけ里数へ数へりゃ 武士も道具を伏編笠で 張りと意気地の吉原 花の都は歌で和らぐ敷島原に 勤めする身は誰と伏見の墨染 煩悩菩提の撞木町より 浪花四筋に通ひ木辻の禿立ちから 室の早咲きそれがほんの色ぢゃ 一い二う三い四 夜露雪の日下の関路を ともにこの身を馴染みかさねて 中は円山ただまるかれと 思い染めたが縁じゃえ

Today, I would like to introduce you to the background and story of a famous Japanese Traditional Dance called, Kane ga Misaki or Cape of the Bell.

The story is based on a famous noh play called Dojoji. Have you heard of it?

It was so successful that it was made into a kabuki play, a joruri or puppet play, a jiuta or shamisen music that developed in the western Japan, and a Ryukyu Kumiodori or Okinawan music play.

The story line goes like this.

Anchin, a handsome young monk from northeast region of Japan once visited Kumano, a known spiritual ground in western Japan. On the way to the shrine, he came across a young maiden, Kiyohime, a daughter of a wealthy merchant in the Kumano area.

Kiyohime fell in love with Anchin, and she stole into his sleeping room at the inn at night.

Anchin who was unable to reject her right away, told her that he will visit her after he visited the shrine, which he did not do and left on his journey.

Kiyohime, who realized that she was told a lie and was scorned, became angry and followed Anchin on his way to the Dojoji Temple.

He did not take her seriously, and magically bound her hands and feet using the power of Kumano Gongen or the God of Kumano. This made Kiyohime furious and she changed into a snake and followed Anchin, blowing fire from her mouth.

Anchin ran into Dojoji Temple and hid in a bell. Kiyohime entwined herself around the bell, and burned Anchin to death. Then she jumped into the river to die.

Later, a shirabyoshi, or a female dancer in Heian period, visited the temple during a memorial service of the bell.

She, the incarnation of Kiyohime, approached the bell, dancing and singing. Then she jumped into the bell and it fell on the ground.

The monks struggled to turn the bell upright and then the shirabyoshi appeared in the form of a snake.

Infuriated by being deserted by a man, she blew fire and wildly ran about. Eventually she became impatient of the monks prayers and jumped into the water to disappear.

All the plays feature the later story of Shirabyoshi, which is based on the legend of Anchin and Kiyohime.

This October, I am going to perform Kane ga Misaki, or the Cape of the Bell, which is interpreted from Dojoji into a piece of jiuta shamisen music, accompanied by koto and singing.

In this piece, the shirabyoshi, although she is the incarnation of Kiyohime, dances her love and pity in the midst of the transience of life, as if she is purified from all her emotion.

I hope to portray not only her bitterness, but something like her determination to transcend her destiny.

Here is the lyrics of the piece:

Resentment seethes when I see the Bell. When I ring the bell in the evening, it resounds that everything changes. When I ring the bell at midnight, it resounds that this is the law of arising and ceasing. The bell in the dawn resounds that you should resign even this arising and ceasing. The bell in the next evening resounds that then you will see the true serenity and enlightenment. However, there is nobody that is surprised to hear this. I feel that my karmic clouds are released and I see my moon of enlightenment through the night.

 How long have I spend time in this village of romance? Even samurais turn down their swords under their woven hats in this Yoshiwara, famous for prides and spirits of ladies. Under the snowy evening dew, I go through the frosty path to see my beloved whom I became attached over the years. Over the Mt. Maru, I pray only that our relationship is peaceful and quiet. It is the En or divine connection that I start to love you.  

Thank you for reading!